Where does one begin to review the latest Opeth album? With their previous release, Ghost Reveries, still on high rotation even after three years, Watershed seems to have come almost from the blue. Various media snippets and the replacement of fifty percent of the band (the band prior to recruitment of keyboardist Per, that is) since their last outing, there was an air of trepidation regarding the sound the band would demonstrate on this, their ninth full-length opus. It’s safe to say that, once again, they have not let us down.
Opening track Coil throws in an immediate curve-ball, taking their classic mid-album acoustic formula upfront. With the introduction of female vocals, courtesy of drummer Martin Axenrot’s significant other, it is a truly haunting piece, and the transition into Heir Apparent sets the framework for the rest of the album. Lotus Eater has been available for download for some time now, however it has lost none of its bite. The aforementioned drummer has taken the band into rarely explored blast-beat territory, not to mention playing over a keyboard solo.
Watching the DVD provided with the “special version” gives some insight into the song Burden, with frontman Mikael Akerfeldt describing his influence for penning a classic metal power-ballad. The remaining songs on the album are also more than worthy of individual analysis, but rather than take up more space here, let this form justification enough to go out and grab a copy of the album.
The musicianship, as ever, is immaculate, with the apparently intentional exception of the closing arrangement of Burden. New guitarist Fredrik Akesson brings his technical brilliance, honed amidst the ranks of Arch Enemy, and as mentioned earlier, drummer “Axe” is more than up to the task of filling the immense shoeprint left by Lopez.
In summary, if you’re familiar with Opeth, you needn’t have read this. If you haven’t and you’re open to sonic experimentalism, go forth and seek this out.
